Return to: Home / Exclusive Interviews & Profiles / Composers . The use of music in zombies films has progressed from the needle-drop stock tracks used by genre pioneer & founder George A. Romero in the original Night of the Living Dead (1968) to the prog-rock sounds of Goblin for Dawn of the Dead (1978). There was also […]

Return to: Home / Exclusive Interviews & Profiles / Composers . Prior to the release of Sony’s reboot of Twisted Metal for the PS3, composer Michael Wandmacher (Dirve Angry, Piranha 3D, The Punisher: War Zone) discussed the intricacies of scoring music for an in-development videogame, plus a few quick tidbits on his latest horror film score – the […]

Return to: Home / Exclusive Interviews & Profiles / Composers . Having scored the 3D version of Jules Verne’s Journey to the Center of the Earth in 2008, Andrew Lockington returned for the sequel, Journey 2: The Mysterious Island, but the project turned out to be much more than writing another dynamic orchestral score. This time there was […]

Return to: Home / Exclusive Interviews & Profiles / Composers . Since 1989, Cliff Martinez has scored almost 30 feature films, but he’s best known for scoring two of director Steven Soderbergh’s best works: the visceral crime epic Traffic (2000), and the composer’s masterwork, Solaris (2002), which ranks as one of the finest sci-fi scores in the last […]

Return to: Home / Exclusive Interviews & Profiles / Composers . The following is an unpublished interview from 2009 & 2010 with composer Jeff Grace discussing his scores for Glenn McQuaid’s I Sell the Dead and Ti West’s The House of the Devil. . . Mark R. Hasan: I Sell The Dead began as a short film, right? […]

Even if a composer deliberately moves between genres to test the mind in scoring comedy, romance, action, horror, and sci-fi, it’s still a struggle to treat each project as unique – and that includes developing a sound that doesn’t recall prior works. There’s personal style, and then there’s old habits that can sometimes sneak into the writing process, and affect the development of themes, motifs, and the overall score..

Return to: Home / Exclusive Interviews & Profiles / Composers Having scored Seasons 2 and 3 of Durham County, composer Peter Chapman isn’t a newcomer anymore, but his music is a fresh mix of the abstract, the impressionistic, the melodic, and the weird. Chapman took over the scoring chores for Season 2, basing his score around the main […]

Return to: Home / Exclusive Interviews & Profiles / Composers . Having scored shorts, feature films, video games, and written music for the concert stage, Austin Wintory is well-schooled in writing music that fits a film’s needs and a director’s vision, and his latest projects include music for the Jordanian filmCaptain Abu Raed (2007), and the horror […]

Making their debut on Blu on this side of the pond are the Dutch marine classic Admiral / Michiel de Ruyter (2015) from XLrator, and Richard Burton’s U.S. debut with Olivia de Havilland in My Cousin Rachel (1952) via Twilight Time.

A lengthy podcast with Peter Roffman, editor / author of Dear Guelda: The Death and Life of Pioneering Canadian Filmmaker Julian Roffman, director of the CanCon 3D classic The Mask (1961), and so much more.

Cited as a strong influence on Universal’s expressionistic horror films of the 1930s, The Man Who Laughs was the first major film version of Victor Hugo’s 1869 novel that told the truly horrible tale of a disfigured child adopted by a small-time circus owner, and years later, becomes a celebrity of sorts when his disfigurement enthralls locals…

Woody Allen’s last film starring Mia Farrow is one of his best and darkest comedies, hyper-fixating on the (largely) negative effects of infidelity – the film earned Oscar nominations for writing and supporting actress (Judy Davis) – but its most powerful moments…

Written during his busiest period (1968-1970), Quincy Jones’ score for John and Mary was quite sparse, leaving obligatory space for the film’s myriad dialogue exchanges and source music, but the score is memorable for being atypical of the material Jones was writing at the time: action comedies (The Italian Job, The Hell with Heroes), comedies (Bob & Carol & Ted & Alice,Cactus Flower), and the funky style of They Call Me MISTER Tibbs!

For some soundtrack fans, it was a bit of surprise to learn the composer of pioneering synth scores had begun his career with large orchestral scores for John Boorman’s Excalibur (1981) and Jim Henson’s The Dark Crystal (1982)…

The first film in the enduring franchise gave John Powell the perfect opportunity to write what remains both his definitive action sound, and the definitive action score of that decade, blending large orchestral sounds with layers upon layers of electronics…

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